This exhibition was intended to explore experimentation in photography since the 1970s. As is inevitably the case with any such endeavor, particularly one that covers its sprawling subject with only seventy-two works, it is easy to quibble with its inclusions and exclusions. To do so, however, would be to overlook the exhibition’s importance. It smartly investigated the flowering of formal and material experimentation after the advent of digital photography in the 1990s and tracked the dialogues between that field and painting and Conceptual art. Curated by Carol Squiers, the show comprised objects made between 1964 and 2013 by twenty-one different artists, all of whom use photography, but in very different ways. The entries ranged from overpainted photographs by Gerhard Richter made between 1986 and 2008, in which portraits, landscapes, and environments are partially obscured